Low male voice repertoire in contemporary musical theatre: a studio and performance guide of selected songs 1996-2020 by

Chapter 8:
 
DUETS
 
WITH
 
LMV
 
FEATURE 
The following selections are offered with a scenes class in mind. The following material features 
a bass-baritone or bass voice equally or more so than their scene partner. This is not a stylistic category, 
though the selections attempt to increase this document’s palette of material with minor stylistic overlap 
to preceding chapter categories. The ensuing analysis includes selections from Women on the Verge of a 
Nervous Breakdown (2011), The Hunchback of Notre Dame (2014), and The Last Ship (2014). 

---

71 
Table 8.1. “Microphone” 
Musical 
Music Lyrics 
Range 
Tessitura 
Women on the Verge of a 
Nervous Breakdown (2010) 
David Yazbek 
David Yazbek 
Ivan 
E
♭
2
– F#
4
Medium High 
Ending - H
Musical Theatre Style 
Song Type/Feel 
Tempo 
Contemporary Legit 
Island Rhumba 
around 124bpm 
Vocalism 
Breathy 
Speech-like 
Character 
Belt 
Legit 
Operatic 
Sources: Data adapted from Brian Stokes Mitchell, “Microphone,” track 9 on Women On The Verge Of A Nervous 
Breakdown (Original Broadway Cast Recording), Ghostlight Records, 2011, Amazon Music streaming audio, 
https://music.amazon.com/albums/B076YHFLZ8?trackAsin=B076YJQYVK&ref=dm_sh_f79f-3a87-dmcp-6222-
a339b&musicTerritory=US&marketplaceId=ATVPDKIKX0DER; David Yazbek, “Microphone” in Women on the 
Verge of a Nervous Breakdown (Milwaukee, WI: Hal Leonard, 2012): 61-70. 
Context 
This duet is found on the original production’s recording but is no longer part of the licensed 
show through Musical Theatre International. This piece followed Pepa’s performance of “Island” in 
which she recounted her previous life with Ivan
1
. The tenderness and warmth of her love is evident in 
“Island” and is immediately juxtaposed by a song about seduction led by Ivan.
2
Ivan is the primary 
vocalist, encouraging his son to embrace the power of microphone to win over the female sex. Carlos 
only sings in gibberish, notated on “blah” outlining arpeggiated flourishes doubled by the piano, until 
joining in with upper harmony in the final phrases of the piece.
3